SarnoMusicSolutions wrote:the mini toggle simultaneously taps the humbuckers to make them single coils.

Brad, I've got 2 questions for ya:1 - how do you get around the huge volume drop when cutting to single coil?2 - have you played around with parallel vs. single coils? they are my current favorite due to slightly less drop in volume, more similar tone to series, and never any single coil buzz.

I look at the series humbucker thing as a very desirable volume "boost" that's only useful for pushing a distortion pedal for some extra drive and dirt. Otherwise, the single coil tone IS the main sound and balances nicely with the neck pickup. So that volume change is totally desirable. I adjust the whole setup around the single coil tone. That's the standard. The series is that very occasional effect-only sound.

Years ago I did the parallel, series, single thing. I just never could get the clarity and strength out of the parallel sound. It was less defined than single, and kind of mushy compared to series hb. It was sort of sweet sounding and the humbucking factor was nice, but just never proved to be useful to me. Also it wasn't a Jerry tone either, so I gave up on it.

Brad

Cool info, Brad, thanks! I agree not very Jerry-ish but curious since I know you are a man of good tone!

When I run from Series > Parallel I can get the clarity but not the strength hence a clean boost pedal is needed. Figured you may have had a solution! I know somebody on TGP experimented with a wiring configuration with an on-board boost.

I hardly ever go from series to split coil on the middle pu (or the same pu). But if I did, the volume control is right at hand. The great thing about the UGB is that you get the same tone at any volume so I usually play with the volume about half way up or a little more. There is plenty of room to go up or down for boost or cut.

I do use the bridge in series but find the volume about the same as the middle in split coil due since the middle pickup is always louder anyway (because more string movement there). Also depends on how far the pickups are from the strings.

myoung6923 wrote:what's with all the resistors - are they pull down resistors?

The 33k resistor on the volume pot turns that 250k pot into a 29k pot, just fine for that purpose. I may just get the right pot at some point, but that's the one that came with the guitar and has the right kind of post and shaft length to perfectly fit.

The upper tan 1Meg resistor is there to present some DC resistive loading to the pickups before the buffer's input cap. It's probably not needed since the pickups themselves can drain any charge there, but it's can't hurt and it's not a bad idea to make sure the load Z isn't too high on the pickups or they can get kind of glassy sounding on top.

The lower tan 1Meg is there on the OBEL send leg just to help avoid pops when connecting or first switching in the loop. It's probably not necessary either, but since it's low Z there (post buffer) the 1Meg won't affect audio, but can provide a drain path for any stray DC charge build up.

I've found that I really like having that 12 gauge ground buss wire in there. It sure makes it easy to find a good ground connection from anywhere in the cavity without running wires long distances and making spaghetti. I just snipped that from a short section of house wiring romex.

Looks like Stu is going to be stepping into John's shoes w/ DSO for a while at least. From DSO website:

As the winter ice begins to melt we will start our Spring Tour in April. Joining us on guitar and vocals for this tour will be Stu Allen of (JGB). With his eagerness to improvise and his commitment to making every performance unique, Stu has made extensive contributions to the jam music scene. In the early 1990's, he co-founded the Minnesota-based acoustic-electric jam band, Blue Man Jive. In addition, he is a founding member of The Jones Gang , Minneapolis' premier Grateful Dead tribute band. He can’t wait to get out on the road and play for you folks.

I don't think I'll be able to catch them on this tour, but I've heard Stu before and not only is his playing excellent, his vocals sometimes come even closer to Jerry than JK.

Apparently Stu's digging the SG/Jerrycaster axe, and when he gets to use it, the SMS/McIntosh/JBL rig is really working nicely. He does fly around a lot for certain gigs, so he doesn't get to lug that rig with him all the time. I think he'll use various Twins depending on where he goes.

Stu did just score a dead-mint Mc2300 that he hopes to try out for his Summer series of shows where he's more firmly planted at one venue, but he doesn't intend to lug it around, all 128 lbs. of it. That big Mac is sitting in my shop right now, and man, it's showroom-new.

What a great thread! Brad awesome looking wiring job too. I have a question though... It was my intention to have my Carvin DC400 routed with a middle HB but decided not to because of the neck thru design and the fact it has a floyd rose system installed. If that were routed it would have drastically altered the structural integrity of the guitar so I said forget it. So I guess that leads me to my question.

Since we all know the middle pick up is the coveted pick up for "THE TONE" how close to you think I will come to obtaining THE TONE with super IIs in both the neck and bridge position with all kinds of splitting capabilities keeping in mind Waldo's buffer will be installed as well. Does the OBEL have anything to do with the tone?

I am impressed with this guy. Good work to all that have helped this artist begin his love with gear, Getting him closer to our beloved sound. Good work Waldo and Brad. I will watch his career closely, great singer.

Brad will know more, but, in my opinion, having three Super II's in my Tiger guitar, all of them splittable, you won't get that close to the true Jerry sound without the middle pickup.

The bridge Super II is very thin and bright as a single coil, and, while I like the humbucker sound, which is fat and sparkly in the lower ranges, it's too piercing in the upper range and doesn't get you the 82-on Tiger sound. It has some of that fat 79-81 Dual Sound character to it, but I don't like it up top.

The neck Super II is too dark as a single coil to get a Jerry tone out of, and as a humbucker, it's very muddy.

I have Waldo's buffer in my Tiger, btw. All these clips are from the same show:

This is the bridge Super II as a humbucker (I think Jerry used it on the cowboy tunes):

These are both the middle bridge as a single coil (more classic 82-on Jerry, I think):

To answer the OBEL question, the answer is no, it doesn't make a difference to the overall tone, because most of the time it's bypassed when you're not using the effects, which is typically the time you most hear the "true" Tiger tone, i.e., no overdrive, no Mutron, no phaser, and so forth.

Vic, You ROCK brother. Thanks for the great detailed reply... Well as it turns out that tone you getting for Mamma Tried is prob my most fav Garcia tone so if I can accomplish that I'd be happier then a pig in the brown stuff It seems I''ve got most of the puzzel pieces in place with super IIs, waldo's clone, 2 k120's in a kick ass JG1 replica made by a guy here in charlotte David Perry - for get this...265.00 bucks and that includes materials -"ll post picks later but it really is a a fn' great cab. Oh if your into moe. you can get a feel for the type of work Dave does by checking out Al's amp head. It's made out of hemp wood and really a stunning piece of work.